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The Broadcasters Podcast

King Of Podcasts

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Fréquence : 1 épisode/7j. Total Éps: 417

Are you tired of a media landscape dominated by corporate narratives and shifting cultural tides? Join @KingOfPodcasts on The Broadcasters Podcast, your essential guide through the complex world of entertainment and media.

With decades of frontline media experience, our host acts as your seasoned watchdog, dissecting how digital disruption is radically reshaping movies, TV, music, and radio. We don't just report the changes; we critically examine the corporate influences, the nuances of PC culture, and the myriad social and cultural forces that either champion or choke creativity, both in front of the camera and behind the scenes.

If you want to understand what's really happening to the content you consume, from your cable box to your streaming feeds, and how it impacts what you see, hear, and believe, this is the podcast for you.

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🇬🇧 Grande Bretagne - entertainmentNews
18/11/2025
#91
🇬🇧 Grande Bretagne - entertainmentNews
17/11/2025
#78

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The Hollywood Gamble on Influencers to Replace Showbiz Talent

vendredi 14 novembre 2025 • Durée 46:40

The entertainment industry is engaged in a reckless gamble, prioritizing the fleeting virality of social media stars over the reliable, public-friendly professionalism of trained talent.

This trend, which began with experimental casting, has rapidly metastasized into a full-scale corporate strategy, positioning influencers as the foolish replacement for groomed, quality artists across movies, television, music, and now, radio.

The entire entertainment ecosystem appears to be chasing instantaneous audience capture rather than fostering enduring creative merit.

Hollywood has definitively "Learned to Love Influencers", viewing them not as collaborators but as packaged audiences ready for monetization. This 'new era of fame' bypasses the necessity of traditional training, acting schools, or years spent honing a craft, opting instead for a shortcut driven by follower counts. The result is a critical substitution of seasoned actors and hosts with untested personalities.

This takeover is starkly visible in the world of television and streaming. Major platforms like Netflix are increasingly tapping into the established fanbases of "New Hollywood" by acquiring shows fronted by successful YouTube creators .

Rather than investing in development with proven writers and performers, the streaming giant is making content from creators like Brittany Broski bigger, while YouTube itself is making aggressive moves into traditional formats like late-night and stand-up comedy.

The platform is actively pushing shows like Royal Court to rival established, highly-vetted late-night hosts, making a clear statement that the traditional gatekeepers are being overthrown by algorithmic success.

Perhaps the most alarming expansion of this 'foolish' recruitment is the invasion of traditional audio broadcasting. A cornerstone of the radio industry, iHeartMedia, has struck a massive partnership with TikTok to bring platform creators into mainstream broadcast radio and launch an entire podcast network dedicated to them.

This move signals a profound erosion of quality standards, as broadcast airwaves—once reserved for highly vetted, public-friendly hosts—are handed over to personalities whose main qualification is their ability to generate clicks and soundbites.

The convergence of social media virality and institutional entertainment is not a merging of worlds, but rather a hostile takeover driven by desperate metrics.

By foolishly substituting quality, trained talent with readily available, built-in audiences, Hollywood and the entertainment industry are participating in a fundamental devaluation of craft, risking a systemic 'race to the bottom' where public-friendly quality is sacrificed for instant, yet often transient, buzz.

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How the Anime Universe Annihilated and Subdued Superheroes

vendredi 7 novembre 2025 • Durée 52:36

The cinematic landscape is officially unrecognizable. After a decade and a half of undisputed global dominance, the twin pillars of American blockbuster filmmaking—Marvel and DC—have been decisively toppled. The new king of the mainstream is not a reboot, a legacy sequel, or a comic book franchise, but Japanese animation, or anime.

The year 2025 will be remembered as the point of no return. The theatrical battle was unequivocally won by the East, led by the colossal success of Demon Slayer: Kimetsu no Yaiba – The Movie: Infinity Castle. The film, distributed by Crunchyroll and Sony, made history with a shocking $70 million U.S. opening—a staggering figure that firmly positioned anime as blockbuster-level content, not "alternative content" for niche audiences.

The film's triumph wasn't just domestic; it was global and symbolic. By the end of the year, Infinity Castle had surpassed the worldwide box office total of DC's highly-anticipated reboot, Superman, becoming the highest-grossing comic book adaptation of 2025 overall.

For those who track the genre's shift, the writing had been on the wall for years, with a previous Demon Slayer film having already surpassed Avengers: Endgame's international box office earnings.
The story for the superhero studios, meanwhile, was one of fatigue and underperformance. A slew of Marvel’s 2025 releases, including the hotly anticipated Thunderbolts and The Fantastic Four: First Steps, all underperformed compared to their predecessors, with the former marking one of the MCU's lowest-ever box office totals. Analysts pointed to a decade of "interconnected universe" filmmaking that had created a "worst modern trend" in Hollywood, leaving audiences weary of what felt like required viewing rather than standalone entertainment.

The seismic shift wasn't limited to the box office. Streaming mirrored the trend as global viewers sought fresh, visually distinct storytelling. Netflix doubled down on the anime-adjacent boom, awarding Sony a staggering $15 million cash bonus for the first KPop Demon Hunters movie, confirming the massive demand for the hybrid content and pushing the sequel, KPop Demon Hunters 2, into production (albeit with a distant 2029 release target).

The most compelling evidence of the collapse of the Western superhero monolith in 2025 came not from Japan, but from China. The year’s highest-grossing film globally was the Chinese animated fantasy, Ne Zha 2, which hauled in a breathtaking $1.9 billion worldwide—earning nearly three times the global gross of Superman. This feat solidified a global appetite for big-budget, imaginative animation that is indifferent to the traditional Marvel/DC formula, conclusively proving that the mainstream audience is now hungry for an entirely new kind of fantasy spectacle.Become a supporter of this podcast: .Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on X and TikTok @kingofpodcasts (F Meta!)Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a Venmo https://account.venmo.com/u/kingofpodcastsDrop KOP a CashApp https://cash.app/$kingofallpodcasts

MTV VMAs in 2025: A Last Bastion of Music's Fragmented Universe

vendredi 5 septembre 2025 • Durée 51:03

Today's hyper-individualized digital consumption, where music is a personalized playlist and social media dictates trends, the MTV Video Music Awards (VMAs) in 2025 stands as a unique, and increasingly vital, cultural event.
While the show has seen its share of ups and downs in relevance, particularly throughout the streaming era, it has evolved into a crucial platform attempting to bridge the fractionalized landscape of modern music. The 2025 VMAs, in particular, showcases a deliberate effort to be a singular meeting point for a diverse array of genres, from traditional pop and hip-hop to the global rise of Afrobeats, K-Pop, reggaeton, and corridos.
Bridging the Musical Divide: A VMA ImperativeHistorically, the VMAs were a bellwether for what was "next" in pop culture. In 2025, that role has become more complex. Streaming services and social media have created a world of micro-genres and niche communities, making it difficult for any single artist or sound to dominate the cultural conversation in the way they once did. The VMAs have responded to this challenge by expanding their tent, and the 2025 ceremony is a testament to this strategy.
The inclusion of new categories for Best Pop Artist and Best Country Artist, for example, is a direct acknowledgment of the industry's evolving landscape. The show's nominations and performances reflect this expansive approach, featuring a roster of artists that spans the globe and a multitude of sounds. This year's lineup includes established pop stars like Lady Gaga and Sabrina Carpenter, alongside country artists like Jelly Roll and Megan Moroney, hip-hop heavyweights like Doja Cat and Post Malone, and Latin music icons like J Balvin and Ricky Martin. The ceremony actively seeks to be the one night where a K-Pop act can share the same stage and audience with a rock band or a reggaeton star, creating a cultural conversation that simply doesn't happen on an algorithmically-driven platform.
The Streaming Era: A History of Peaks and ValleysThe history of the VMAs in the streaming era has been marked by a struggle for cultural oxygen. The initial decades of the awards show were defined by their status as a "Super Bowl for youth," a must-see event that generated moments of collective shock and awe. The rise of YouTube and other video platforms, however, democratized the music video and diminished MTV's role as the primary gatekeeper of visual music.
This has led to a perceived lack of "notable moments" in recent years, as the kind of spectacles that once dominated headlines now compete with countless viral clips and online personalities.Furthermore, the live performances have increasingly focused on solo artists, with a few singing groups making an appearance. The lack of traditional bands on the VMA stage is a notable trend, reflecting the current dominance of solo performers and producers in the music industry. The show often leans on a sense of nostalgia, bringing back veteran artists like Mariah Carey, Ricky Martin, and Busta Rhymes to perform and receive special honors, giving viewers a taste of the show's past glory while also connecting with artists who have shaped the industry.Become a supporter of this podcast: .Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on X and TikTok @kingofpodcasts (F Meta!)Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a Venmo https://account.venmo.com/u/kingofpodcastsDrop KOP a CashApp https://cash.app/$kingofallpodcasts

Traditional Media Massacred Again With Major Layoffs (ep.315)

vendredi 26 janvier 2024 • Durée 51:30

CNN reports that the News industry is off to a brutal 2024 start as mass layoffs devastate publishers, raising questions about the future of journalism. Even as the presidential election cycle heats up and public attention and revenues historically mount, has been on full display this month, with the first few weeks of 2024 ushering in a spate of painful layoffs at news organizations from coast-to-coast.
The Los Angeles Times slashed its newsroom by more than 20% earlier this week; TIME cut dozens of staffers; and Business Insider said it would trim its workforce by 8%. Meanwhile, hundreds of staffers at Condé Nast, Forbes, The New York Daily News, and others staged historic walkouts to protest planned cuts at the outlets.
The recent round of layoffs, while pronounced, are part of a much larger and unrelenting storm battering the journalism industry. Over the past 18 months, most news organizations have been forced to make difficult decisions to reduce their workforces.
At the national level, CNN, The Washington Post, NPR, Vice Media, Sports Illustrated, Vox Media, NBC News, CNBC, and other organizations have cut swaths of their reporting staff. At the local level, layoffs have been nearly constant, with newspaper giant Gannett cutting hundreds of employees, and small outlets carving out already lean operations.
The latest round of layoffs come after 2023 marked the worst year for job cuts in the journalism sector since Covid-19 upended the world in 2020, with roughly 2,700 jobs eliminated.
While each outlet is struggling with its own unique challenges, they all are facing brutal industry headwinds ushered in by the internet revolution and other technological advances that have fundamentally changed the way the public consumes news and entertainment.
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Become a supporter of this podcast: https://www.spreaker.com/podcast/the-broadcasters-podcast--3684131/support.Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on X and TikTok @kingofpodcasts (F Meta!)Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a Venmo https://account.venmo.com/u/kingofpodcastsDrop KOP a CashApp https://cash.app/$kingofallpodcasts

Sensation, Shock and Salacious Sex Craze of Saltburn (ep.314)

vendredi 19 janvier 2024 • Durée 58:40

Refinery29 describes the movie Satlburn as follows: "Spoilers ahead. There's something distinctly unnerving about leaving the cinema and not being able to process what you just watched. 'What the fuck just happened?' 'Why am I horny?' 'Was that a Britney Spears shirt?'
These are just some of the words that might come out of your mouth after watching Emerald Fennell's new film, Saltburn.
Emerald Fennell's (Promising Young Woman, Killing Eve) new film Saltburn is hard to define. It's a story about love, desire and obsession that's part twisty psychological thriller and part laugh-until-you-weep comedy. It's also super, super gay.
The film follows Oliver, played by Barry Keoghan (The Banshees of Inisherin, The Killing of a Sacred Deer), a shy scholarship student at Oxford who quickly becomes infatuated with the charming and aristocratic Felix, played Jacob Elordi (Euphoria). Despite their clear differences, Felix invites Oliver to spend the summer at his family's sprawling estate, Saltburn. Soon, we're taken on a wild journey that's just as sexy as it is dark."
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Comedians Getting Cancelled Called Out or Computer Recycled (ep313)

vendredi 12 janvier 2024 • Durée 58:32

KOP looks at the growing trend of comedians finding themselves caught up in controversy and facing the possibility of being cancelled or computer recycled. They include Jo Koy, Katt Williams, and George Carlin..
Jo Koy, known for his hilarious stand-up routines and relatable storytelling, has been a target of controversy on multiple occasions. One of the main issues that have come up is his use of racially charged jokes. While some find his humor refreshing and genuine, others argue that it perpetuates stereotypes and fosters division. This has led to calls for him to be cancelled or to have his content removed from streaming platforms. However, it is important to note that comedy is subjective, and what may offend one person may make another laugh. It is up to the audience to decide what they find acceptable or not.
Similarly, Katt Williams, a comedian known for his quick wit and sharp tongue, has also found himself at the center of controversy. His provocative style often treads the line between comedy and offense, resulting in backlash from various communities. One instance that sparked controversy was his use of homophobic language during a stand-up routine. This led to calls for him to be cancelled and for his shows to be boycotted. However, Williams defended his right to freedom of speech, stating that comedy should be a space where anything can be said without fear of retribution. The debate continues on whether comedians should be held accountable for their words or if they should be given more leeway due to the nature of their profession.
Now coming back to the spotlight in AI form that no one asked for, even legendary comedian George Carlin was not immune to controversy during his career. Known for his satirical take on social and political issues, Carlin pushed boundaries with his uncompromising style. He often used profanity and tackled taboo topics, which resulted in criticism from conservative groups and calls for him to be computer recycled. However, Carlin remained unapologetic about his material, arguing that it was a reflection of the world we live in and that comedy should challenge societal norms. Despite the controversies surrounding him, Carlin is still remembered as one of the greatest comedians of all time.
In conclusion, comedians like Jo Koy, Katt Williams, and George Carlin have all faced their fair share of controversy throughout their careers. Whether it is through racially charged jokes or provocative language, these comedians have found themselves caught in the crossfire between freedom of speech and accountability. While some argue for their cancellation or computer recycling, others believe that comedy should be a space where anything can be said without fear of retribution. Ultimately, it is up to the audience to decide what they find funny and acceptable, and whether they choose to support or condemn these comedians is a matter of personal choice.Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on Twitter or Facebook @kingofpodcastsListen to KOP’s other programs, Depraved and Debaucherous… and the Wrestling is Real Wrestling Podcast.Become a supporter of this podcast: .Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on X and TikTok @kingofpodcasts (F Meta!)Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a Venmo https://account.venmo.com/u/kingofpodcastsDrop KOP a CashApp https://cash.app/$kingofallpodcasts

Radio Decline in 2024: Delusioned, Delisted and Drowning in Debt (ep.312)

vendredi 5 janvier 2024 • Durée 01:05:01

Audacy will soon dive into bankruptcy, Salem Media delists and Beasley and Urban One are on the verge of being delisted. iHeart is still not out of their financial woes either. Commericial radio continues to roll into decline.
Inside Radio reports: The Wall Street Journal reports that Audacy is gearing up to file for bankruptcy in the coming weeks, grappling with a significant decline in advertising revenue that has rendered it incapable of servicing its $2 billion debt load. The WSJ exclusive says Audacy has already successfully negotiated a prepackaged bankruptcy plan with its senior lenders, who are poised to provide the necessary financing for the impending Chapter 11 proceedings. As part of this arrangement, the senior lenders are anticipated to assume ownership of the company post-restructuring.
The financial challenges faced by Audacy are rooted in diminishing revenue and widening net losses, primarily attributed to a downturn in ad spending. The company had previously cast doubt on its ability to operate as a going concern, citing concerns over its capacity to meet debt obligations based on its revenue forecasts for 2024.
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Collateral Damage on TV, Movies, Music and Radio by The Digital Disruption (5th Anniversary)

vendredi 29 décembre 2023 • Durée 01:05:22

Taking a long look at the digital disruption that the internet, digital streaming and social media has taken in the last 5 years to erode the traditional mainstream monolith of media companies providing content to the mainstream.
The dawn of the digital age has ushered in transformative changes across various industries, with the media sector experiencing one of the most profound shifts. Over the last five years, the rise of the internet, digital streaming platforms, and social media has disrupted the traditional mainstream media landscape, challenging the dominance of established media conglomerates and reshaping the way content is produced, distributed, and consumed. This article examines the digital disruption that has eroded the traditional mainstream monolith of media companies.
1. Proliferation of Digital Streaming Platforms:
One of the most significant disruptions in recent years has been the proliferation of digital streaming platforms such as Netflix, Amazon Prime, and Disney+. These platforms have revolutionized content consumption by offering on-demand access to a vast library of movies, TV shows, and original content. Unlike traditional broadcast and cable networks, which operate on fixed schedules, streaming platforms provide viewers with the flexibility to watch content anytime, anywhere, and on any device. This shift towards on-demand viewing has challenged the traditional advertising-driven business model of mainstream media companies, forcing them to adapt to new consumption patterns and preferences.
2. Rise of User-Generated Content and Social Media:**
The rise of social media platforms like Facebook, Instagram, and Twitter has democratized content creation and distribution, allowing individuals and independent creators to reach global audiences without the need for traditional media intermediaries. User-generated content, influencer marketing, and viral trends have become integral parts of the modern media landscape, enabling a new generation of content creators to challenge the dominance of traditional media outlets. The virality and immediacy of social media platforms have also amplified the impact of breaking news and events, further eroding the gatekeeping role traditionally held by mainstream media organizations.
3. Fragmentation of Audiences and Content Personalization:
The digital disruption has led to the fragmentation of audiences across multiple platforms and channels, making it increasingly challenging for mainstream media companies to capture and retain viewership. The proliferation of niche content and specialized streaming services catering to specific interests and demographics has resulted in a more personalized and fragmented media landscape. This shift towards personalized content consumption has forced traditional media companies to reevaluate their content strategies and diversify their offerings to cater to evolving audience preferences.4. Disintermediation and Direct-to-Consumer Models:The digital disruption has facilitated the rise of direct-to-consumer (DTC) models, enabling media companies to bypass traditional distribution channels and engage directly with audiences. Streaming platforms and content creators can now monetize their content through subscription-based models, pay-per-view events, and premium content offerings, reducing their reliance on advertising revenue and third-party distributors. This direct relationship with audiences has empowered media companies to experiment with innovative content formats, pricing strategies, and engagement tactics, further challenging the traditional mainstream media ecosystem.5. Challenges and Opportunities for Traditional Media Companies:While the digital disruption has presented significant challenges for traditional mainstream media companies, it has also created new opportunities for innovation and growth. Media organizations are increasingly investing in digital transformation initiatives, developing their streaming platforms, and forging strategic partnerships to expand their digital footprint and reach new audiences. The convergence of technology, content, and distribution has enabled traditional media companies to experiment with new storytelling formats, immersive experiences, and interactive content, fostering a more dynamic and competitive media landscape.The digital disruption driven by the internet, digital streaming, and social media has fundamentally transformed the traditional mainstream media landscape. The erosion of the mainstream monolith of media companies has paved the way for a more diverse, democratized, and personalized media ecosystem, where content creators, platforms, and audiences are more interconnected and empowered than ever before. As the digital revolution continues to unfold, traditional media companies will need to embrace innovation, adapt to new consumption patterns, and reimagine their role in the evolving media landscape to remain relevant and competitive in the digital age.Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on Twitter or Facebook @kingofpodcastsListen to KOP’s other programs, Depraved and Debaucherous… and the Wrestling is Real Wrestling Podcast.Become a supporter of this podcast: .Contact KOP for professional podcast production, imaging, and web design services at http://www.kingofpodcasts.comSupport KOP by subscribing to his YouTube channel and search for King Of PodcastsFollow KOP on X and TikTok @kingofpodcasts (F Meta!)Listen to KOP’s other programs, Podcasters Row… and the Wrestling is Real Wrestling Podcast and The Broadcasters Podcast.Buy KOP a Coffee https://buymeacoffee.com/kingofpodcastsDrop KOP a PayPal https://www.paypal.com/donate?hosted_button_id=3TAB983ZQPNVLDrop KOP a Venmo https://account.venmo.com/u/kingofpodcastsDrop KOP a CashApp https://cash.app/$kingofallpodcasts

Corporate Mega Merger In Play: Warner Bros. Discovery and Paramount Global? (ep.310)

vendredi 22 décembre 2023 • Durée 56:52

KingOfPodcasts as he delves into the buzz surrounding the potential blockbuster merger between Warner Bros. Discovery and Paramount Global. In this episode:
🔹 David Zaslav, CEO of Warner Bros. Discovery, and Bob Bakish, Paramount Global's CEO, sit down for high-stakes discussions in NYC.
🔹 What does this mean for the entertainment industry? The potential formation of a media titan could reshape the landscape.
🔹 Could this be the dawn of a new streaming giant? The melding of Paramount+ and Max might just be the answer to Netflix and Disney+'s dominance.
🔹 Who's buying whom? The intricacies of the deal, the stakeholders involved, and the potential impact on the market.
🔹 Beyond streaming: The synergies are limitless! From international distribution to merging iconic franchises and news powerhouses, we break down the potential implications.
🔹 The pressures on Paramount: A look at their financial landscape, debt concerns, and the race to find the right strategic partner.
🔹 A blueprint for success? How Zaslav's prior merger strategies could hint at what's to come.
Tune in for an in-depth analysis, expert insights, and all the latest on this game-changing potential merger. Don't miss out on this episode of the Broadcasters Podcast! 🎧📺

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New Music Digital Pipeline Goes Through TikTok Not Radio-Year in Media 2023 Part 2 (ep.309)

vendredi 15 décembre 2023 • Durée 50:53

Inside The Music Industry Massacre of 2023: If it’s not TikTok it’s AI or Fake Streams, the music industry and the record labels are taking in a lot of incoming attacks
When Music Was Diverse and Inclusive and How The Crossover Needs to Comeback: A guest column in Billboard in April called for “all music industry professionals to reflect on the ways in which our industry has perpetuated a system that benefits a select few at the expense of marginalized communities.”
How Radio Is Removing Real Talent for AI Inferiority:
Two long-time radio talents are fired without warning as Corporate Radio favors more AI Technology over even human voicetracking.
AM Radio is Dying a Slow Death With a Lot of Static:
The decline of AM Radio has been a long-standing issue in the radio industry, and the trend of it being removed from infotainment dashboards is only further exacerbating the issue.
How New Music on Corporate Radio is Dying, plus Record Labels Rigging Radio Airplay and the Rest of Radio’s Very Rough Week in May
Radio Retreats to Throwbacks and Surrenders New Music to the Streamers over the Summer

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